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Poster: hrsauertieg Date: Jul 20, 2006 4:45pm
Forum: GratefulDead Subject: Re: Segues and transitions- for all you new folks

One everyone's probably heard a million times - but which never fails to amaze me - is the LIVE/DEAD segue from "The Eleven" into "Lovelight."

From STEPPIN' OUT, "Dark Star" > "Sugar Magnolia." Phil wrote about that one in his book, I believe. I heard it before I read about it, though!

From the unofficial stuff that's available here, there are sooooo many. A fun one is "Cold Rain and Snow" > "Doin' That Rag" from the Fillmore West, 6/7/69. "WRS" > "China Doll" from 6/23/74 (Miami) is amazing too, if you're still awake when the segue occurs. (OK, so shoot me.)

2/2/68, Crystal Ballroom has a really good sequence of "That's It For The Other One" > "Clementine" > "Good Morning Little Schoolgirl." The version here is almost Vault-quality sound. For a good CD-length musical experience, you can double up the 2/2/68 show with the 1/20/68 Eureka, CA set that's available here. This results in the following killer set list (which - not to deviate from our topic - includes several excellent segues):

Viola Lee Blues > Feedback, TIFTOO > Clementine > Good Morning Little Schoolgirl, //Clementine > New Potato Caboose > Born Cross Eyed > Spanish Jam > Caution Jam > Dark Star//

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Poster: gphishmon Date: Jul 20, 2006 6:10pm
Forum: GratefulDead Subject: Re: Segues and transitions- for all you new folks

Some that jump out at me:

5/10/80 - Hartford

Stranger>Comes a Time>Estimated>He's Gone>Uncle John's>Drums>Not Fade>Sugar Mag

Great transitions all the way through, but the one that stands out the most is He's Gone>Uncle John's. Ironically, the jam starts with a wrong note quickly corrected by Jerry. Almost like something so big is about to happen it messes with Jerry a bit. But then he starts the fast, circular pattern which leads to moving out of the He's Gone rhythm into the Uncle John's rhythm. Finally comes the key change and Bob's chord sequence (simplified as he occasionally played it in transition), and we are there!

Not Fade>Sugar Mag is a keeper, too. Bob keeps repeating, "Not Fade Away," as Jerry plays a riff that sets up the shift, and right on cue comes Bob with the chords for Sugar Mag. They also have to speed it up, because Not Fade is so slow, as was typical of 79-81.

3/5/81 - Stanley Theater, Pittsburgh, PA

Scarlet>Fire is perfect. Playin'>Drums is more than just a fade out; Jerry plays the final section before drums as a solo, which itself flows right out of the preceding music. Jerry's final, dissonant chord poses a question that is answered by the drummers.

But the prettiest transition of this show is Not Fade>Wharf Rat. It will leave you speechless.

7/18/76 - Orpheum Theater, Boston

Can't leave this one out. Supplication>Let It Grow is an immediate shift that works perfectly. Let It Grow, OTOH, takes its very sweet time heading into Wharf Rat, which moves nicely into an Other One tease before the drum solo starts.

1/22/73 - Eugene, OR

Close Encounters>St. Stephen

Jerry is so in the moment that he doesn't bother with the standard intro. He's just unleashed this wicked solo on everybody, ending with two badass chords (D - E), and just powers his way into the main theme of St. Stephen.

But the ultimate is ...

9/21/72 - Spectrum, Philadelphia

Dark Star>Psychedelic Cowboy Jam>Morning Dew.

Here the transition is so emphasized, elongated, and embellished that it becomes a theme, that could almost be a song, all by itself. Check out Phil's Bb-D chording just before the Dew.

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Poster: gphishmon Date: Jul 21, 2006 7:03pm
Forum: GratefulDead Subject: Re: Segues and transitions- for all you new folks

Oh, how in the world could I forget:

12/31/78 - Winterland, San Francisco, CA

Dark Star>Other One>Dark Star>Wharf Rat

From DS to TOO is possibly the smoothest, most seamless transition they've every done. The music gradually sounds less like Dark Star and more like the Other One, until Jerry finally plays a definitive key change riff. Even after that, there are still moments where you'd think they might slip back into Dark Star, until Phil starts playing some full-on Other One runs. The lack of his standard intro only makes the jam smoother. The transition back into Dark Star is so sweet it gives me the chills every time. Get the DVD and see Jerry's intensity and how utterly locked in these guys are.

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Poster: cosmicharlie Date: Jul 21, 2006 7:36pm
Forum: GratefulDead Subject: Re: Segues and transitions- for all you new folks

so many shows, so few memory cells. lol